platforms. To provide context, it explains the business model of these platforms and
their integration into the individual and collective daily lives of users. Subsequently, it
combines theories from different authors addressing informational power and the
position of Big Techs and digital platforms in these dynamics. It also presents the
perspective of some authors about intrinsic power relations, knowledge exploitation,
and the extraction of users' surplus value, replicating certain economic logics from
colonialism. The distinction between informational power and communicational power
is presented, with the latter embedded in discourses. This is complemented with
theories from other authors analyzing these processes currently, taking into account
new formats of message dissemination. The engagement metrics is examined as a
vector of the public sphere and user empowerment as information spreaders on
digital platforms, along with the groups formation and collective mobilizations around
common interests. The adjustment of mass media vehicles to new formats, retaining
strong influence in information diffusion, is also analyzed. In the chosen research
subject - the debate on Bill 2630/2020, which establishes the Brazilian Law on
Freedom, Responsibility, and Transparency on the Internet, intensively discussed on
Twitter during the selected period—these aspects are observed. The dissertation
seeks to relate theoretical foundations to specific cases. Notable positions in the
platform discussion include official statements from some digital platforms against the
Bill on their corporate blogs and a report from Globo TV, addressing the relevance of
digital platform regulation, which also gained significant traction in our database. The
content is qualitatively and then quantitatively analyzed for its impact on Twitter. A
categorical content analysis of the debate on PL 2630/2020 on Twitter over 30 days
aims to map the discussion, analyze key topics, identify influential authors, social
mobilizations, and emotional processes involved. Tweets are categorized as
Alarmist, Informative, Call to Action, Positioning, and Discussion. Analyzing tweets
grouped in this way provides a better understanding of some asymmetric power and
discourse relations that traverse them, objectively analyzing significant events in the
timeline of this debate.

The present research embraces the analysis of a family photo album. Its author, Glenda Earl, arrived in Brazil, more precisely in the west of Bahia, in the 1970s, in the wake of a migration that brought thousands of North American families to the country attracted by the possibility of cheap and productive land. This movement took place in the context of the military dictatorship, which indirectly encouraged illegal possession of land as part of an expansionist project of occupation of the country.

 The images in Glenda's photo album cover a timeline of almost 30 years (1973-2000) when she registered her family's life in the country, going through several important historical episodes. This research seeks to understand the properties of these domestic images by the constitution of a heterogeneous archive that allows us to see from it numerous reliefs. First, how it is constituted as a domestic practice of archiving; Secondly, as we can also see a political denunciation of the occupation and colonization of this territory that will become one of the largest monoculture areas in the world. Finally, and most fundamentally, the investigation turns to perceive the historicization not of the events, but of the body that experiences the events, as well as its condition of production of images.

 Finally, the research seeks to relate Glenda Earl's family album, as well as the support of the album in general, as a practice of a history produced by women based on a positional system capable of creating new ontologies of archiving.This archive, as a practice of a domestic topology, of women, would no longer be circumscribed to an idea of domestic imaginary as a relationship of precariousness and absence. On the contrary, what is sought, in the course of these images, is to map meanings of potentialities.

This research investigates the trend present in contemporary Brazilian film production to depict speculative futures; thus, it reflects with cinema by considering its peculiarities in materializing concerns of a specific era, such as the way in which the future is conceived in contemporary times. The specificities in dealing with images in Brazilian cinema and the sense of futurity are observed with the manifestation of themes that traverse these ideas, such as the concepts of utopia and dystopia, and the hegemonic logics that permeate the present time. The aim is, therefore, to scrutinize the relationships and meanings produced through the intersection of the themes mentioned above and concepts in our times; to understand how meanings are products of the articulation of such issues, as they are producers of them. Specifically, the study seeks to perceive how the idea of the future in Brazil is/can be affected by hegemonic reasons and how it manifests in cinematic images. We relate the sense of futurity to a supposed hijacking of expectations stemming from the conception of neoliberal rationality, striving to comprehend how affects are produced and reproduced within these expectations. The conjecture is that, through discourses and non-discursive practices (among which, cinema itself) of hegemonic logics, maintaining an unalterable future perpetuates these same logics. Therefore, we approach it from a genealogical perspective, investigating the manifestations and transformations of themes and concepts in history and our times – how they articulate with changes and fluctuations in discourses, knowledge, powers, cultures, etc. What is perceived, initially, is a paradox of images, often intentionally counter-hegemonic, being absorbed, "pre-incorporated," or neutralized in the face of their own object of criticism.

.This research has as its subject/object the knowledge of Gentil of Orocongo, through him, it was analyzed the fable process as a discursive production strategy in marginal cultures. In this case, margins are shown in the Jacques Derrida concept, whose studies demonstrate that all western thought is based in a central idea: an absolute truth, a God, a presence, written with capital letter, with the intention of assuring the meaning of everything. In this context, the philosopher points to the problem of the “centers” and their omnipotence that ends in excluding the others, ignoring or marginalizing their concepts. In this reflection, emerges as a potency Gentil of Orocongo whom with his resilience can create cultural links between distinctive worlds. For this study, a documental font is used, with more than 60 hours of video recordings, that follow Gentil Camilo Nascimento Filhos’s dynamics, resident of Monte Serrat, at the Morro da Cruz Massif, in Florianópolis, SC (1945 – 2009), in the earlies 2000. He was one of the few specialists and promoters of Orocongo – a musical instrument from Cape Verde which, in the late 1980s, was “rediscovered” by him and survived due to his hands on the island of Santa Catarina folklore. We need to remember that Florianópolis is a city that, in its essence, always kept black men marginal to the society. To develop this paper, the objective was to identify how Gentil of Orocongo was able to keep his legacy alive to these days. With the aim to answer: a) How could Gentil of Orocongo, through fableing, disrupt the barrier and make his speech a social and cultural interest speech? b) How could Gentil of Orocongo cross cultures and imprint african features in a whitened society? c) How does Gentil de Orocongo keep himself alive and manages to cross bridges to ancestrality? From these images analysis, it was addressed the importance of fabulation as a recontextualization form, through time breaches, of a documentary elaboration. In order to achieve the objective, it was used as a methodological strategy, the documental analysis of the material captured for the elaboration of an audiovisual about the character, articulating with the theoretical referential of authors like Deleuze, Jacques Derrida, Paul Ricœur, Jacques Rancière, Michel Foucault e Consuelo Lins, with the intention to acknowledge how in these spaces emerge the voices that can breach the excludent hegemonic speeches from those marginal to the traditional speech. Furthermore, through authors who develop theories focused on the africanity and its cultural heritage, it’s possible to comprehend indeed the legacy of Gentil of Orocongo that is centered in his ancestry. They are the following: Nei Lopes, Luiz Antônio Simas, Luiz Rufino e Jeruse Romão. An analysis that catches in the darkness of contemporaneity the “becoming” that, how do you propose, neutralizes the lights of time to discover in the darkness that the “dark” is quite special. A material produced 20 years ago that now is useful as a memory source to perpetuate Gentil of Orocongo’s ancestry.  

To address the competitiveness of a global market, companies are exploring organizational models based on cooperation and collaboration, leveraging these structures for their innovation potential and strengthening their political representation amid the various social elements surrounding a given industry.

This study aims to understand, through the lens of systemic complexity epistemology, how communication processes are connected to the roles of leaders in these organizations. This is achieved by conducting a multiple-case study of 10 Brazilian communities involved in video game development. Using documentary research on these communities and in-depth interviews with 10 leaders, supported by extensive bibliographic research on Organizational Communication, Complex Systems, and Leadership theories, the study seeks to understand and describe the foundational role of communication in organizations of this type.

Preliminary research on the subject was carried out, along with a literature review on the concepts of leadership, community, and organizational culture, and a description of the production chain of the Video Games Industry and its history in Brazil.

As results, leadership profiles in complex environments were identified through an analysis of leaders' actions, challenges related to communication structure, value alignment between organizations and their communities, the role of information in organizational decision-making, and finally, a proposal for viewing leadership as a complexity-catalyzing system that facilitates the self-organization (autopoiesis) of organizational systems.

The development of public policies is an essential tool through which the State can correct possible inequalities, whether territorial or social in nature. Understanding how these distortions were created is essential for understanding the process of formation of margins, that is, of subjects and territories that have little or no access to public goods and services. This dynamic generally occurs between territories and subjects who are marginalized at different levels and who therefore also find themselves denied access to the means of audiovisual production. Cinema as a social structure is also subject to reproducing the same dynamics of exclusion present in the society of which it is part and which tend to perpetuate themselves if they are not combatted with effective state proposals. Thus, public policies aimed at promoting Brazilian cinema can also be an object of study, both to understand what these territorial and identity margins would be, that is, the territories and subjects that do not have access to the means of audiovisual production, and to propose tools that promote the democratization of access to these means of production. The democratization of access occurs through the implementation of decentralizing tools, which promote democratization in relation to the territory, and through pluralizing tools, which promote democratization in relation to the subject. In this way, the research proposes the study of contemporary public policies, through the analysis of their instruments, that is, through the analysis of notices published at federal, state and municipal levels in the last five years, in order to understand what the pluralization and decentralization tools and how they are being implemented. In general, it is clear that there is still a significant lack of public policies to promote Brazilian cinema. Furthermore, even the federative entities that published a contest in the last five years, many of them did not bring any decentralizing or pluralizing tool. Among those who brought these tools, there are very positive initiatives, with the establishment of quotas or addition of points to categories historically neglected in these competitions, such as black people, women, indigenous people, quilombolas, gypsies, people with disabilities, LGBTQIAP+, people from cities in the interior or on the outskirts of large centers, or even, due to accessibility requirements, glossary. An in-depth understanding of public policies allows us to understand the advances that these policies have provided, as well as point to possible improvements so that audiovisual production can be truly democratic in a country as unequal as Brazil.

Defined as the predominant contemporary rationality, neoliberalism has in the media one of its most important devices for homogenization and cultural consumption. In Cuba's case, which remains partially outside of this rationality, the process in question is experienced through the Weekly Package, an informal media that distributes digital content, including foreign cultural goods that escape the control of Cuban's government. Among the digital contents disseminated by the Weekly Package, fictional genres are particularly highlighted as one of the most refined strategies for introducing neoliberalism through its symbolic dimension. The objective of the research is to analyze how this dimension is introduced in Cuba through the consumption of the South Korean series,

Squid Game. This is a suspense series created by Hwang Dong-hyuk and streamed by Netflix, which can be interpreted as a true allusion to neoliberal values. From the perspective that guides reception studies, the thesis aims to analyze how these values are reappropriated in the daily relationships of the residents of the Centro and Los Sirios neighborhoods in the city of Santa Clara. For such analysis, a qualitative methodology is used, based on the ethnographic method and the application of instruments such as participant observation, in-depth interviews, and discussion groups, through which approaches and distances between the global imagery generated by the South Korean series and the studied locality centered on the socialist regime are explored. The work results show how the usage and the appropriations of these cultural products occur, as well as the different readings that recipients make of them, according to their historical, geographical, economic, and cultural determinations.

This research seeks to identify the construction of the career and professional identity of women journalists who work in the communication sectors of the Federal Institutes (IFs), establishing, beyond the gender perspective, an ethnic-racial perspective. Using an exploratory and descriptive approach to the research object, the work of journalists in IFs, the study contextualizes the work of this professional in organizational communication and communication consultancy, approaching journalism as a profession that has been undergoing transformations. The proposed methodology consists of the collection of open data on Federal Government portals, the application of a questionnaire, similar to the one carried out by Lima et al. (2022), to produce the profile of the Brazilian journalist, and conducting in-depth interviews, which allowed us to relate the career construction of four women, each belonging to a Brazilian ethnic-racial identity, within the perspective of socio-history. Given the research stages carried out, the results are that the profile of journalists from the Federal Institutes converges with that of the Brazilian journalist, which allows us to talk about female journalists, under 40 years old and white. Another result is that majority of these professionals previously worked in other advisory services. Also noteworthy is going into the public service as a way to obtain professional stability and quality of life in the midst of cuts and precarious working conditions in private companies. Journalists who work in IFs, in response to the online questionnaire, point to structural precariousness, but say they are satisfied with their work, especially in relation to the respected workload, in addition to working in communication advisories, evidencing greater autonomy in the public service. The survey reveals a predominant profile of female journalists, white, post-graduate, married, with stability of 9 to 12 years in the IF. When addressing ethnic-racial and socioeconomic inequalities, with emphasis on the need for inclusion policies, it also points to the presence of the triple glass ceiling of gender/race/class (Moura and Costa, 2018; Moura, 2019) in careers, with an emphasis on the challenges faced by women journalists. It concludes with evidence of the feminization of journalism in IFs and the search for quality of life and career stability.

Mediatization is a concept that emerged in the 1970s, initially associated with Communications and Political Science interested in the effects of the media on everyday life. However, since the late 1990s, it can be found in other fields, with shifting meanings and other definitions. Since the 2000s, we can identify the emergence of a conception of mediatization in which the logic of algorithmization and machine learning assumes centrality under the platform paradigm (Van Dijck, 2018 and Snircek, 2016). This work seeks to understand, using the essay as a method of analysis, the formation of an algorithmic mediatization, capable of articulating symbolic, managerial and technical dimensions through interfaces (Virilio) constituting itself as a core device of neoliberal governmentality and the rising of a new apparatus (Foucault). To achieve this objective, in the first part, we seek to understand how neoliberal subjectivity (Dardot; Laval, 2016) articulates the figure of the self entrepreneur and the paradigm of the self (Cesarino, 2022) with the materialization of a technical order based on cybernetics which, in turn, produces mechanisms of subjection based on the information and digital technical devices. In the second part, we present a brief genealogy of mediatization as a process and, based on the territorial dimension, we try to understand the relationship between mediatization and territorialization (Santos, 2008a). The study points to the emergence and consolidation of an apparatus (Foucault, 2008b), as an engine of a political economy of sensations (Agre, 1994), capable of articulating subjectivity and technical objectification through algorithmic mediatization. We propose that we are witnessing the emergence of a new apparatus, the perceptron, that, as in the Foucauldian panopticon, establishes a device that articulates original forms of knowledge-powers, regimes of veridiction and reasons of government. We conclude by pointing out, albeit in an exploratory way, developments in cognitive dissonance and challenges for citizen practice.

Taken as a reference, contemporary times are the historical period that seems to elevate the consumer to the fundamental condition of protagonist of brand valuation. Linked to the radical intensification of emotionality in social life, individuals become a source of value for organizations in unprecedented ways. Branding, that is, the construction and management of brands carried out with the primary purpose of increasing their market value, is a crucial knowledge for the new rationality, as it involves techniques that can promote emotional connections between brands, workers and consumers. Communication, especially digital communication, plays a central role in this process, because in addition to guiding the formation of brand meanings, enabling the creation of emotional connections with consumers, it encourages them to take actions that generate value. This phenomenon cannot be dissociated from the current stage of capitalism, in which the platformization of relationships between companies and consumers and the extraction of data from human experience on the web constitute fundamental economic substrates. Considering this issue, this research aims to investigate how branding is now becoming a neoliberal knowledge-power that uses digital communication to transform emotions into economic value for brands, a fact that places individuals as co-producers of the process of their valuation, thus reflecting a new type of capitalism. To give materiality to the phenomenon described, we chose a case study focused on the Chinese brand Shein, which operates globally in the clothing retail sector through its digital platform open to merchants in its country of origin and in some of the countries where it operates. The choice of the brand is justified by its ability to reflect the complexity of the proposal that guides the research. It is concluded that the company knew how to efficiently use the most modern tools at its disposal in order to climb the economic, political and cultural power ladder. In this scenario, branding stands out as a structuring knowledge-power of this dynamic, as its techniques stimulate emotional behaviors, which ultimately feed the databases of digital platforms, thus converting emotions into vital inputs for a capitalism based on the extraction, transformation and monetization of behavioral data. 

This dissertation articulates theorists and scholars of gender theories and feminism, of the communication field and theories of journalism with the analysis of the discourses present in the articles published about transgender people (‘travestis’ and transsexuals) in the G1 News Portal between the months of January and February 2020 and 2021. More specifically, the objective is to understand how communication processes have been affected by cisgender normativity, and if this interferes with the stigmas related to transgender people and ‘travestis’, especially in matters that deal with violence contexts. It starts from the assumption that journalistic practices, strongly linked to the use of objectivity, tend to make the coverage of ‘travestis’ and transsexuals mostly linked to stigmas of violence, whether in a main or secondary way. This limits the construction of stories that propose new meanings, and undermines the deconstruction of the stigmas that favor gender inequalities. The research has as a theoretical-methodological approach the French discourse analysis and departed, especially, from interdiscursivities and silencing to identify the main meanings of coverage about transsexuality in the press. The three main discursive formations found are linked to the themes of human rights, health, and violence and death. If the statements, in general, seem consistent with the relevance of the transsexuality expressions, the journalistic agenda fall short

This study conducts a mapping and an analysis of the regulations established by the Bolsonaro administration for the broadcasting sector in the first three years of his government: from 2019 to 2021. The investigation seeks to verify whether the so-called “running the cattle herd” strategy suggested by the then Minister of the Environment, Ricardo Salles – which became representative of the Bolsonaro administration in various fields of action – also applies to the broadcasting segment. This research, then, adopts an interpretive description approach to analyze the implemented initiatives, based on documentary research and data analysis, combined with a logic analysis of actors in a field of conflicts. It is also grounded on the theoretical perspective of the field of public policies and of the Political Economy of Communications (PEC), which are then connected to the theoretical framework of the captured liberal model, developed by Latin-American scholars such as Mireya Márquez-Ramírez e Manuel Guerrero (2014). The results indicate that, after the recreation of the new Ministry of Communications in June 2020, there has been a practice of benefiting corporate broadcasting through intensifying and targeting regulations, especially those at the ministerial level. The strategy conveniently makes use of regulatory fragmentation, typical of Brazilian broadcasting legislation. Such practice often relativized the role of the State in prioritizing the public interest, subjecting it to targeted private interests. This research addresses the political and symbolic weight of the broadcasting sector in Brazil, marked by a history of clientelism and concentration, the country’s intention of joining OECD, and the conciliation of interests that the Bolsonaro administration sought with groups that would ensure his maintenance. In conclusion, what is seen is the implementation of a policy aimed at prioritizing liberal corporate broadcasting, but which takes advantage of the privileges of its relationship with the public power, and that, during the period analyzed, was combined with the institutionalization of personalism, authoritarianism and religious proselytism practices when it comes to the country's electronic media sector 

 This research seeks to investigate how the processes of listening and sound perception can help the conscious construction of meanings in an audiovisual work. Theoretical research is based on the analysis of film sequences and assists in the use of sound spectral analysis to understand the technical parameters that enable the creative and narrative choices of the soundtrack. The manipulation of the physical and acoustic parameters of sound is presented as a narrative resource for the construction of senses and perceptions in the spectator. The research is located at the intersection between communication and the psychology of perception and collaborates with theoretical and practical reflections that allow the development of sound in the audiovisual language.

 At a time of public health crisis, such as the Covid-19 pandemic, constant public interest communication about science and health is necessary, in addition to close contact with society. This research project seeks to understand whether the social media platforms of government agencies foster public communication of science and, if so, how these processes take place. To answer the question, a case study was carried out on the communication of the State Department of Health of São Paulo within the scope of the childhood vaccination campaign against Covid-19. A Content Analysis (CA) was carried out on the official Instagram posts of the Secretariat of Health (@saude_sp) between December 16, 2021, and April 17, 2022, and the comments on these publications. A semi- structured interview was also carried out with the Public Actor responsible for coordinating the Secretariat's Communication. It was noticed that the communication campaign in question had the central objective of informing society of the need to take children to receive the vaccine against Covid-19. Information had as its focal point bringing knowledge most of the time, however this knowledge, in most of the analysis,
did not represent an example of Public Communication of Science, due to the lack of scientific sources. Therefore, the use of the social network platform by the Department of Health partially promoted Public Communication of Science, due to the low use of scientific sources and active dialogue with society.

This dissertation investigates the trajectories of women who work as producers and hosts of podcasts in Brazil. The study seeks to understand the motivations that drive these women to engage in this media phenomenon, as well as to analyze the ways in which they have entered the podcasting sphere, which is the universe of podcasts. Furthermore, the work analyzes these women's perception of podcast production, how they perceive this activity, and how they perceive their own role in this context, as well as the possibilities of pursuing this practice as a career and the relationship it has with the construction and affirmation of their identities in this space. Eight Brazilian women from the Federal District, Pará, Piauí, Rio de Janeiro, Rio Grande do Sul, and São Paulo, all producers, and hosts of podcasts, were interviewed. The research is conducted from an ethnographic perspective and takes as reference the work of Brazilian anthropologist Gilberto Velho to analyze the trajectories of these women, their projects, and fields of possibilities. Other important references are Everett Hughes and Claude Dubar and their model of professional socialization, applied here to analyze the interfaces between professionalization and the construction of an identity in the podcasting sphere. Similarly, Howard Becker and Harold Wilensky are also central to the reflections on professionalization and career. In the trajectory of the women investigated, the experience as a listener stands out as a driving force for becoming a podcaster. Furthermore, it is observed that the motivation to become podcasters is generally not directly related to financial aspects, although profitability can become a determining factor for the continuation of activities over time. We identified that podcasters recognize themselves as such from the moment their voices are expressed and shared in networks.

This dissertation investigates the contemporary dilemma faced by women in their pursuit of physical perfection, balancing the social pressure of beauty standards with health concerns. The transformation of this paradigm is not solely the result of cultural shifts but also rooted in a power structure within society. In this context, around the mid-20th century, bariatric surgery emerged as a significantly important treatment in combating obesity and its comorbidities, promoting health and well-being, particularly among women, who are most affected by this condition. In line with this, social media plays a crucial role in disseminating these issues, both in raising awareness and in pressuring unattainable beauty standards. The research analyzes the influence of medical advertising on Instagram and explores how it may impact women's perception of their bodies and their pursuit of bariatric surgery, delving into its persuasive power in the digital landscape. To achieve this, a study was conducted considering the Content Analysis proposed by Bardin (1977), a quantitative approach that seeks to quantify posts about bariatric surgery and the volume of health-related posts, while also considering a qualitative approach in identifying the patterns present in the advertisements. This dissertation also adheres to the principles of Discourse Analysis methodology inspired by Michel Foucault's perspective (1996; 2005), emphasizing the Discursive Formations present in the posts, aiming to understand how medical advertising influences the choice for bariatric surgery and the perception of how female bodies are represented and impacted by media discourses. This enabled a deeper analysis of the meaning-making process within the discourses related to the surgical procedure and its dissemination on Instagram. The profiles selected for the research were those of two bariatric surgeons, Dr. Fábio Viegas (@drfabioviegas) and Dr. Helena Malnati (@dra.helenamalnati), and Hospital Anchieta (@hospitalanchieta), representing a Healthcare Institution, during the period from January 2022 to September 2023. Throughout the study, it was identified that, although there are profiles of doctors that focus on the image of a slim body to encourage bariatric surgery, the chosen profiles did not concentrate their posts on aesthetics but rather on informative content, using advertisements that provide ethical and responsible information in influencing bariatric surgery.

This research addresses the notions of wandering and displacement from the perspective of the journey in "Grande Sertão: Veredas" (1956). The goal is to map Riobaldo's thought, seeking to understand the aesthetic and communicational constructions. To do so, a reflection on the aesthetics and the journey in Guimarães Rosa's literary creation is proposed. As indicated by the archives and bibliography, the life of a diplomat and travels through the Brazilian backlands may have influenced the narrative construction of the novel, filled with deviations. The work draws a parallel between the protagonist and the author, one as the consciousness of the other. The investigation aims to create a discourse map, previously divided into four categories: wandering, emotion, displacement, and Diadorim/devil, based on aesthetic contemplation of the imaginary. This "map" is forming a quantitative analysis of grammatical and semantic word appearances related to the categories. The method used was inspired by Willi Bolle's cartography (2004), as well as studies by Paola Berenstein Jacques (2012), Michel Onfray (2009), Benedito Nunes (2013), Edgar Morin (2017), Costa (2002), and Baião (2020). As a result, concepts such as Riobaldian thought and wandering displacements were defined. It also presents the construction of a "map," blending knowledge from communication and literature. This dynamic points to the formation of new perspectives on the character's narrative as a consequence of the work's wandering imaginary, providing elements for various interpretations.

This dissertation deals with the discursive strategies of former President of the Republic of Brazil Jair Bolsonaro that generate anti-gender and anti-press effects, resulting in narratives of cultural violence against women journalists on his personal Twitter profile during the pre-election and electoral period of 2022 - from July 15th to October 30th. More specifically, the objective is to understand the importance of violence against women journalists for the agenda of Jair Bolsonaro, as well as the importance of Twitter as an instrument for this violence. The analysis is justified taking into account the growth in the number of threats and offenses against these professionals, largely driven by the former representative of the Federal Executive, and which move between online and offline with the same misogynistic contours. We associate the reading of Sociology of Violence theorists to recognize the typology of violence against women journalists; as well as reading communicators and political scientists that allowed us to understand the reactionary populist character of the bolsonarist discourse. Finally, we combine platform studies and theories that study gender and feminisms to understand how these environments have become a territory of hatred against women and against freedom of the press. In light of French Discourse Analysis, we recognize discursive formations that seek control over what is moral and what is true, challenging the credibility of journalism while assigning women the same patriarchal social role as “womb of the nation”.

Originating late in the mid-nineteenth century, Brazilian music journalism has undergone numerous transformations, and also some permanencies, which have been portrayed throughout more than 200 specialized periodicals launched in the country since 1848. Especially using the theoretical precepts of Jean Charron and Jean De Bonville (2016), the objective of this thesis was to carry out a comparative study of five Brazilian journals and magazines specialized in music launched in different decades, to identify the determinants of permanence and editorial transformation and groups of content producers over a century, taking into account the historical contexts of specialized music journals. The journals and magazines studied were: A Música Para Todos (1896-1899), Ariel (1924-1929), Revista da Música Popular (1954-1956), Rolling Stone (1972-1973) and Bizz (1985-2001). Three central aspects were studied: the editorial identity, the content producers, and 100 texts drawn from 20 content producers that we highlighted in the research. We detail the editorial identity using the content analysis method. The groups of content producers and their characteristics were identified through the analysis of collective biographies. Finally, we did paraphrastic and event readings of the texts chosen by sortition. Our research has shown that Brazilian music journalism has been transformed as the editorial missions shaped by editors and publishers have been modified. Music journalism based on erudite music that prevailed in the 19th century had, among others, a pedagogical editorial mission. The 20th century brought the development of the phonographic industry and, with it, the predominance of music journalism based on popular music, pushing the erudite field towards the academies. The mission ceased to be pedagogical and became an orientation for consumption. This shift in types of missions led to changes in the profiles of editors, content producers and the topics discussed on the pages of journals. Music journalism also presented changes that accompanied the technological innovations and journalistic practice of each era, but none of the periodicals studied in detail were agents that triggered transformations. Permanencies were also identified, especially in relation to the points that constitute the editorial identity, such as forms of support and the type of content offered.

This research investigates how television systems in South America are adhering to normative principles in the context of combating misinformation. In this regard, the study focused on analyzing three important countries in the region: Brazil, Argentina, and Chile. The central question guiding this work is to understand how journalism from South American open television broadcasters has dealt with the phenomenon of misinformation, intensified by the digital environment in this century, and whether these outlets adhere to democratic principles involving the right to information, communication, and pluralism. To answer this question, the research conducted an initial analysis exploring debates about communication and information rights, pluralism, the relationship between law and communication, with the impact of the internet in this field as a backdrop. Next, the contexts of misinformation were studied, including its characteristics, dynamics, and interactions with technology and the political environment. The television systems of the three countries were investigated, considering their history, market structure, and regulations. Case Study methodology was used, combined with techniques such as Document Analysis, Content Analysis, and Discourse Analysis. Programs of different formats but with a journalistic bias were selected for analysis. These programs addressed topics of public interest often targeted by misinformation, such as Covid-19, Electronic Voting Machines, and Constitutional Plebiscite. The analysis was based on indicators of plurality divided into five categories: Democratic Values, Ownership Rules, Freedom of Expression, Content Diversity, and Education and Awareness. The results demonstrate that the analyzed countries have laws seeking to define television broadcasting as a public service, recognizing communication as a right, and that this legal framework positively influences the fight against misinformation within journalistic programs, even though the presence of monopolies and concentration in large media groups constitutes a challenge to these principles.

The aim of the research is to understand, from the trajectories of the members of the social world and based on the cases of Brazil and France, how digital feminist media publications are structured and why they are maintained. I chose to work with these two countries because they are major players in the international geopolitical scenario of the global South (Brazil) and North (France). I see feminist media activism as a space composed of the interstice between other social worlds, such as journalism, digital activism, and political militancy. To understand which forms of engagement are constructed by the group, the thesis analyzes the Brazilian publications AzMina, Think Olga and Lado M and the French publications Georgette Sand, Les Glorieuses and Madmoizelle. I use theories on gender studies and feminisms as bibliographical support. I also turn to the theoretical framework of symbolic interactionism correlated to the social worlds of the beckerian perspective to trace the conventions and ways of cooperation, interaction and negotiation constructed by the journalists and contributors to these publications. Moreover, I seek support from critical sociology and social field theory to observe the relations of power and domination that permeate the practice analyzed and the experiences of the interviewees. The methodology, of a qualitative and inductive nature, is based on ethnography with in-depth interviews with actresses and actors who participate to different degrees in the composition of the world – content producers, support teams and publics – and direct observation of the practices developed by participants in these spaces to enable multi-site comparison and provide transnational evidence of the ways in which digital feminist media work.

This dissertation presents aspects of how changes took place in the mechanisms of digital participation offered by the Federal Senate at the beginning of the Covid-19 pandemic, which occurred in 2020, from the implementation of the Remote Deliberation System (SDR), which allowed the functioning of the deliberative sessions in a virtual manner. The objective is to answer the following question: how did the implementation of remote deliberative sessions in the Federal Senate change the way citizens participate in the legislative process during the pandemic? In order to operationalize it, digital social networks that broadcast the remote sessions were analyzed, such as Facebook and YouTube, in addition to the House's institutional social participation tool, e-Cidadania. Interviews were also conducted with managers responsible for the digital tools. It was concluded that the Federal Senate offered structure and mechanisms for online political participation before and during the pandemic but in 2020 there were no significant changes in the way the population participated digitally when compared to the previous year. Despite the increase in the flow of participation, it is not possible to affirm the same about the quality of participation. e-Cidadania had some of its tools affected by the changes in the functioning of the Senate remotely and social network sites were used for informational and not for participatory purposes. Thus, in addition to seeking to understand the changes in digital participation in this period, the intention was to contribute in the debate on the paths for participation in the Legislature in a world with or without a pandemic.

This research aimed to study the transposition of the literary work, Romance d'A Pedra do Reino e o Príncipe do Sangue do Vai-e-Volta (1971), by the writer Ariano Suassuna to television in the format of a miniseries, titled A Pedra do Reino (2007), produced by Rede Globo in partnership with Academia de Filmes and directed by Luiz Fernando Carvalho. Carvalho had complete freedom to build the miniseries however he wanted, however, the director chose to keep the main aspects and the essence of the hypotext. In the construction of the miniseries Carvalho sought to dialogue with other genres of speech (theater, painting, literature itself, music), in addition to dialoguing directly with the Movimento Armorial, a movement led by the writer Ariano Suassuna and whose objective was to unite popular art with erudite art. . Therefore, the key concepts that guided us in the present discussion were the transtextuality of Gérard Genette (2010), the intermediality of Irina Rajewsky (2012) and the hybridity of Homi Bhabha (1998). We analyzed, then, how the director used some narrative functions to build a recreation of the source text in an audiovisual product, such as the inspiration of some characters from the commedia dell'arte in the construction of the characters of the miniseries and the inspiration in the paintings of Giotto and El Greco for the construction of the set and photography of the miniseries. Thus, it was possible to highlight the transgressive character of the adaptation carried out by Carvalho, who pointed to a proposal that goes a step further in an aesthetic challenge launched on Brazilian television.

The present work analyzes the photographic works of Georges Brassaï, Claudia Andujar and Antoine d’Agata from the perspective of the nocturnal aesthetics they explore. From his works, we propose an evolutionary line of the photographic language, verifying how his works displace the imaginaries associated with the nocturnal present in nineteenthcentury photography, a paradigmatic moment of a glorification of light propagated by technical and scientific modernity with evident effects in photography, its limits and language. We argue that the work of the chosen artists contributed to reconfigure old dichotomies that defined the roles and possibilities of images that appeal to a nocturnal visuality, shifting them from an exclusively artistic function to contaminate and complexify the narratives that produce contemporary reality. A large part of the 19th century photographic production was forged under the sign of a realism based on a luminous and descriptive aesthetic, forming a daytime regime of images whose resonance was felt to varying degrees in scientific, technical and even amateur agendas. A minority, however, always sought the authority of night images in artistic agendas that broke with the daytime postulates of photographic realism. In the 20th century, however, we see a change in this dichotomy. There is an expansion or an advance in the aesthetic possibilities of representing the real, felt even in genres traditionally associated with the daytime regime, as is the case of photographic documentation to which the selected works are linked. In this evolution, we place the most forceful exploration of the interdiction and the suggestive power of the night with elements that escape the search for objective vision and refer to the precariousness of night light and to the diffuse images of dreams. From the analysis of books by the elected photographers, we proceed with an evaluation of their discourses in which lubricity, deviation, ancestry and the margin (elements long associated with nocturnal imaginaries in the West, as we will see) are summoned in order to make contemporary reality more complex through the photographic image.

In this PhD thesis, we aim to test the hypothesis about a possible poetic cinematography in the contemporary Cinema of Sertão, creating and transforming its characters, spaces and landscapes, contributing to its consolidation as a specific cinematographic genre. Such cinematographic poetry can express itself in a dominant way as a visual concept which involves the whole narrative or, in punctual ways, as poetic instants that mark the viewer's memory. Based on a corpus composed of 30 fiction films released between 2010 and 2020, we have used as a method the analysis of scenes, process criticism and film analysis. We also have used interviews with cinematographers guided by the suggestion of the Theory of Filmmakers approach in its most current form, which contemplates every creative professional involved in the making of a film. We have divided the text into six parts: an introduction, contextualizing the research objective, the structure of the thesis and the main theoretical framework used; chapter 1 – Origins of The Cinema of Sertão, where we have made a historical survey of the approaches of this setting, the Sertão, in cinematography since the 1950s; chapter 2 – Poetry and the consolidation of the genre, identifying important poetic elements in this set of films and entering concepts such as Sertão-sea by Ismail Xavier; intertextuality, by Robert Stam, Gérard Genette, Tiphaine Samoyault, and Mikhail Bakhtin; and free indirect discourse by Pier Paolo Pasolini. In chapter 3 – Poetic images in the contemporary Cinema of Sertão, we have elected seven categories of analysis typical of cinematography in order to observe the most recent films: lighting; movement; color; framing - which brings the sub-item of contiguity; point of view; effects and intertextuality, placing side by side films that make use of these resources and contextualizing them within the history of the Cinema of Sertão, besides relating them to theoretical perspectives regarding poetry, imagination and cinematographic language. In chapter 4 – Performances of the Landscape, with Anne Cauquelin and Gaston Bachelard, we also have reported the performance of the Sertão setting as a poetic articulator even in the most literal films. In conclusion, we have finally emphasized the Cinema of Sertão confirmation as an emancipated genre and the cinematography as a fundamental element in its consolidation, besides making a synthesis of the perspectives and reflections addressed throughout the text.

This thesis is a study on digital journalism, in the context of platformization, which seeks to understand how interactivity and participation practices are configured in front of digital social media platforms. The object of study is the Instagram of the Metrópoles communication vehicle, which is a digital native and one of the most accessed news portals in Brazil (METRÓPOLES, 2021; METRÓPOLES, 2022; DIGITAL NEWS REPORT, 2020; 2021). The specific objectives are: to analyze the production and distribution of content on Metrópoles' Instagram; to evaluate the reaction of the public with the themes that generated the most engagement; to identify the levels of interactivity and participation of the different audiences in the Metrópoles Instagram and to verify how the governance of the Instagram platform and the business models of the Metrópoles vehicle are carried out. Platformization is the process that encompasses infrastructure, economic factors, governmental structure of digital platforms and organization of cultural practices (POELL, NIEBORG AND VAN DIJCK, 2020). It has made journalism adjust its legal structures to the operating logics of platforms (NIEBORG AND POELL, 2018) causing a shift in social roles, business models, use of big data, privacy, and speed of information circulation (SAAD, 2020). This relationship between journalism and platforming creates new practices of interactivity and participation in a context in which interactivity is seen from a contextual perspective, as it is a communicational process (BRAGA, 2000; THOMPSON, 2002; CANAVILHAS, 2020) that depends on relationships contexts to happen and participation is seen from the political approach in which participation only exists if there is an equal distribution of power among the participants who make decisions (CARPENTIER ET AL, 2019). This investigation uses netnography as a methodological contribution, a qualitative digital research, which seeks to answer questions about practices, values, consumption, structures, meanings, senses and cultural experiences that are created and expressed by the consumption of technology (KOZINETS, 2019). In this sense, the research data were collected through an analysis form, interviews, and observation (systematic and systematic participant and non-participant) of the field. Data analysis reveals that the production and distribution of content on Metrópoles' Instagram is marked by the large number of publications that, in addition to resulting in incidental consumption of news for the public, follow the characteristics of digital journalism and the norms established by the platform making the vehicle to achieve one of its objectives, which is to generate engagement, which can be seen by the digital traces left by the public. In addition, there is the fact that interactivity occurs at the level of engagement and participation occurs in a hierarchical way between the Instagram platform, the Metrópoles vehicle and the audiences. These new practices of interactivity and participation are marked by the governance, algorithms and the business model of the Instagram platform. This demonstrates how the phenomenon of platformization creates new practices of interactivity and participation in digital journalism which practices are related to the dynamics of content production and distribution and reveal behaviors and habits guided by the functioning of platforms